In “Metamorphy” artwork, the veil is like a porous skin which generates a virtual cloud through interactions of audience. It draws sensorial limits between a physical and immaterial body.
Specifically I am looking for dialogues; the dialogues between foreground and background, objects and subjects, past and present…
I wondered if disparate individuals from countries halfway around the world could work together in real time as a positive model for creation rather than destruction.
Nomusa Makhubu uses her work as a means of critiquing the socio-political environment as well as an important means of reflection of the everyday lives of people.
This is how I view humanity; always teetering on the line between fiction and reality, domination and submissiveness, self and other.
This project plays with lost and reclaimed identity, queries authenticity, toys with the artist’s intervention/intention to inject uniqueness into mass-produced objects, and calls into question the systems of presentation and representation.
Disturbing the Spirits deals with both reality and time (past/present/future) and my growing attachment to the healing powers of the natural environment.
We use technology in our creations in order to suggest a kind of ‘poetry of life’.
The work takes as a starting point a theory originally developed by Gustav Fechner, the father of psychophysics, to describe what happens to the energy of human life after death.
In ‘Deeply in Love’ Gülan, indirectly refers to the ‘The Last Judgment’ (1537–1541) the grand fresco by the Italian Renaissance master Michelangelo painted on the altar of the Sistine Chapel.